Saturday, October 23, 2010

Pub: Roland Barthes, THE PREPARATION OF THE NOVEL.

Barthes, Roland. The Preparation of the Novel: Lecture Courses and Seminars at the Collège de France. New York: Columbia UP, 2010.

Completed just weeks before his death, the lectures in this volume mark a critical juncture in the career of Roland Barthes, in which he declared the intention, deeply felt, to write a novel. Unfolding over the course of two years, Barthes engaged in a unique pedagogical experiment: he combined teaching and writing to "simulate" the trial of novel-writing, exploring every step of the creative process along the way.

Barthes's lectures move from the desire to write to the actual decision making, planning, and material act of producing a novel. He meets the difficulty of transitioning from short, concise notations (exemplified by his favorite literary form, haiku) to longer, uninterrupted flows of narrative, and he encounters a number of setbacks. Barthes takes solace in a diverse group of writers, including Dante, whose La Vita Nuova was similarly inspired by the death of a loved one, and he turns to classical philosophy, Taoism, and the works of François-René Chateaubriand, Gustave Flaubert, Franz Kafka, and Marcel Proust.

This book uniquely includes eight elliptical plans for Barthes's unwritten novel, which he titled Vita Nova, and lecture notes that sketch the critic's views on photography. Following on The Neutral: Lecture Course at the Collège de France (1977-1978) and a third forthcoming collection of Barthes lectures, this volume provides an intensely personal account of the labor and love of writing.

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WHAT IS 'THEORY'?

Institutionalised philosophy has before it something called 'philosophy,' which is emphatically not philosophy, that does not follow the protocols of that discipline, that does not measure up to apparently transparent standards of logical rigour and clarity. . . . This institutionalised 'philosophy,' which is not itself, produces another paradox as well: it proliferates a second philosophy outside the boundary that philosophy itself has set, and so it seems that philosophy has unwittingly produced this spectral double of itself. It may be that what is practised as philosophy in most of the language and literature departments . . . has come to constitute the meaning of 'philosophy,' and so the discipline of philosophy must find itself strangely expropriated by a double. And the more it seeks to dissociate itself from this redoubled notion of itself, the more effective it is in securing the dominance of this other philosophy outside the boundary that was meant to contain it. (Judith Butler, "Can the 'Other' of Philosophy Speak?" 241)

I shall use the word ‘theorist’ rather than ‘philosopher’ because the etymology of ‘theory’ gives me the connotation I want, and avoids some I do not want. The people I shall be discussing do not think that there is something called ‘wisdom’ in any sense of the term which Plato would have recognised. So the term ‘lover of wisdom’ seems inappropriate. But theoria suggests taking a view of a large stretch of territory from a considerable distance, and this is just what the people I shall be discussing do. They all specialise in standing back from, and taking a large view of, what Heidegger called the ‘tradition of Western metaphysics’ – what I have been calling the ‘Plato-Kant canon.’ (Richard Rorty, Contingency, Irony, Solidarity 96)

Everywhere I go, I find a poet has been there before me. (Sigmund Freud)

A man with one theory is lost. He needs several of them, or lots! He should stuff them in his pockets like newspapers. (Bertolt Brecht)

Something is happening to the way we think about the way we think. (Clifford Gertz, "Blurred Genres: the Refiguration of Social Thought" 20)

The history of thought is the history of its models. (Frederic Jameson, The Prison-House of Language)